Tomasa del Real
Chile
"Her tracks weave together pulsating rhythms and urgent bass lines, creating an infectious groove that compels movement from the first beat."
About Tomasa del Real
Tomasa del Real stands at the forefront of neoperreo, a movement that redefines the intersection of reggaeton and electronic music with an unapologetic embrace of sensuality and urban identity.
Through her work, she has cultivated a space where marginalized voices resonate, challenging traditional narratives within Latin music and inviting listeners to revel in a contemporary expression of desire, empowerment, and community.
Through her work, she has cultivated a space where marginalized voices resonate, challenging traditional narratives within Latin music and inviting listeners to revel in a contemporary expression of desire, empowerment, and community. Her impact is felt most acutely in how she inspires new generations to embrace their sexuality and individuality, transforming nightlife into a canvas for self-exploration.
Del Real's approach merges digital production techniques with raw emotionality, utilizing beats that pulse with urgency while layering vocal melodies that oscillate between playful and provocative. By blending hyper-local sounds with global influences, she creates an immersive experience that propels bodies into motion on the dance floor. This innovative fusion not only captures the essence of modern urban life but also serves as a rallying cry for authenticity amid commercialized pop.
Her songwriting often explores themes of liberation, intimacy, and social commentary through a bold lens. With a tone that balances humor and sincerity, her narratives draw listeners into vivid scenarios that reflect both personal experiences and collective struggles within contemporary society. This storytelling approach invites deeper engagement while maintaining a sense of immediacy and relevance.
Sync your library
Everything you track here works immediately — no account needed. Create one when you want to sync across devices.
